The award-winning Danish furniture designer Cecilie Manz has developed this understated, upholstered chair for Republic of Fritz Hansen. Described by Manz as a ‘formal chair for informal meetings’, ‘minuscule’ features a hand-stitched, leather-trimmed shell which is supported by a simple and lightweight plastic frame. The design was launched during the Salone del Mobile 2012 fair. Watch the designer explain the idea behind ‘minuscule’ in the video below. (more…)

Reminiscent of a supersized origami structure, this intricately engineered and executed, crisp white limited edition seat has been created in 2011 by the acclaimed Danish designer Cecilie Manz. Made of the environmentally-friendly, high-quality uncoated 400 gram Arctic Paper Munken, the complex form of ‘Lots of Paper’ was achieved through the process of tessellation. (more…)

For the fourth time the Danish association for the support of craft and design will present a selection of works during the Salone del Mobile in Milan. This year the Copenhagen based designer takes over from Karen Kjærgaard, who curated and designed the three previous exhibitions.

“”MINDCRAFT11 will be based on the terms that I consider eternal and essential in relation to quality craft and design: Quality, Functionality, Materiality”, Ceclie Manz explains – principles that we can actually see in this year’s selection and in her own works, too.

Every autumn the Cabinetmaker’s Autumn Exhibition takes place in Copenhagen, this year at the beautiful Ordrupgaard museum in the north of Copenhagen. The exhibition is an initiative of 72 furniture manufacturers and designers who together present their newest developements and experiments. Here some images of this year’s projects.

“Cecilie is just like her furniture,” a friend of mine who works as a designer told me when I mentioned I was going to be interviewing the Copenhagen-based designer Cecilie Manz. And, indeed, Manz exudes a calmness and composure much like her pared-down, uncomplicated work. It was extremely rewarding to meet her at this year’s Stockholm Furniture Fair in February. Here’s our conversation.

'Mikado' side table by Cecilie Manz for Fredericia

As predicted, this year’s fair features a large number of novelties. It’s amazing just how quickly new products, which all claim good reasons to exist, are developed and produced. How long do you work on an object?
Yes, the mass of new products is incredible, but if you’ve ever spent time on a stand at a design fair, you’ll know that “What are you showing that’s new this year?” is always the first question to be asked. No wonder that manufacturers feel under pressure.
The development time of an object really depends on its complexity. But I can say for certain that, regardless of what type of object it is, it takes no less than a year for development. I’d say, on average, it’s between one and two and a half years.

You work alone. Does that mean you don’t like working in a team?
I’ve always worked on my own. Perhaps because I’ve never found the perfect partner. I don’t know. My work situation is perfect at the moment: I’ve got an assistant, who I value enormously. She questions my designs at critical points in the process. But I always have the last word.

This means that the number of commissions is limited.
That’s right. But I’d find it tough to take on commissions that I couldn’t look after properly. I can get enormousy involved in a project and that’s precisely what I like about my work. I can’t simply hand this intensive involvement over to another person. In this sense, a small, manageable studio is what suits me.

'Mondrian' pendant light for Lightyears

You’ve had your own studio for almost 12 years. How has the way that you work changed during this time?
Naturally, I’ve learnt a lot of practical things. A lot of blind alleys that I used to go down in the design process I now know not to revisit. This means my work is more focused, though it’s more limited, too. Apart from that, I still work in an old-fashioned way: I draw a lot with pencil and coloured pens, build small models. Thank God I can’t draw on a computer…

Your designs are extremely reduced in form. Do you see your work in the context of your Danish heritage?
Definitely. I believe our roots are in our blood and the culture that surrounds us, defines us. We people from the North tend to be quite sober and that shows up in classic Danish design. I try to limit my objects to the essential. In doing so, my work mirrors my temperament very well.

In spite of all restraint, as a designer you are part of a system in which sales figures are a decisive valuation factor.
I’m very aware of this, but I definitely don’t want to create things whose appearance and construction don’t serve their function. Many things are produced and bought, without people having thought about them. There should always be a clear reason for designing and producing a new product. It could be to improve functionality or to rationalise something, such as the use of a material, for example.

Tue 25.8.

The Danish designer Cecilie Manz is known for her minimalist and unostentatious creations, which sometimes even seem to convey Japanese influences. Since she founded her studio more than 10 years ago prestigious manufacturers such as Nils Holger Moorman and Lightyears have been her clients. Recently the Danish manufacturer Fritz Hansen presented ‘Essay’, a dining room table created by Cecilie Manz.

'Essay' by Cecilie Manz for Fritz Hansen

The table’s clear and simple design, above all details like the gap between tabletop and base, makes the solid wood appear light and stylish.

‘Essay’ can be extended with black linoleum leaves, and several bases are possible. It is suitable both as a dining table and a work table.